DOCSLIB.ORG

John Strachan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Strachan Collier, Mike and Thompson, Brian (2012) Their Colours and Their Forms. [Show/Exhibition] Downloaded from: http://sure.sunderland.ac.uk/id/eprint/3729/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Their Colours and their Forms Artists’ Responses to Wordsworth ❦ Their Colours and their Forms Artists’ Responses to Wordsworth ❦ Carol McKay and John Strachan Art Editions North The Wordsworth Trust Published by aen (Art Editions North, an imprint of the University of Sunderland) and the Wordsworth Trust, Grasmere, Cumbria, 2013 Distributed by Cornerhouse Publications, 70 Oxford Street, Manchester, m1 nh, England. Their Colours and their Forms: Artists’ Responses to Wordsworth is an exhibition shown at the Wordsworth Museum, Grasmere, between 2 February and 10 March 2013. Copyright in this compilation by Carol McKay and John R. Strachan 2013. Copyright in This mixed-media exhibition, featuring the work of a number of notable the contributions remains with the contributors. contemporary artists, offers a series of imaginative responses to Wordsworth. It uses Wordsworth’s life and poetry — and the manuscripts of William and Dorothy Edited by Mike Collier and John Strachan with assistance from Janet Ross displayed in the Museum — as the inspiration for sculpture, fine art, poetry, Designed by Manny Ling calligraphy, electronic music, conceptual installation and a number of ‘creative walks’ in the Grasmere area. All of the artworks are specially conceived for the exhibition, No part of this publication may be reproduced, stored in a retrieval system, or which features the work of artists, composers and creative writers including Tim transmitted in any form or by any means, electronic, mechanical, photocopying or Brennan, Mike Collier, David Harsent, Manny Ling, John Strachan, Robert Strachan, otherwise, without the prior written permission of the publisher. Brian Thompson, Sam Wiehl and Tony Williams. Their Colours and their Forms is curated by Mike Collier, John Strachan and Brian A cip record for this book is available from the British Library Thompson in collaboration with the School of Humanities and Creative Industries at isbn 978-1-906832-06-3 Bath Spa University and w.a.l.k. (Walking, Art, Landskip and Knowledge: www.walk. uk.net), an interdisciplinary research centre based at the University of Sunderland which examines the way in which cultural practitioners engage with the world through walking). The curators are grateful for the financial sponsorship of the universities A of Bath Spa, Northumbria and Sunderland and for the support and assistance of Jeff E N Cowton mbe and his colleagues at the Wordsworth Trust. This book was designed by ART EDIT- IONS NORTH Manny Ling. WALK Walking Art Landskip & Knowledge | | | | Acknowledgements Their Colours and their Forms: Artists’ Responses to Wordsworth forms part of a programme of exhibitions at the Wordsworth Museum that is generously supported by the John Ellerman Foundation. Much of the prior research described here, including the timeline of The Prelude, the other artists’ responses and the reports, was supported by the Renaissance Designation Development Fund, administered by Arts Council England. We are grateful to the Wordsworth Trust for the use of images and text: Wordsworth’s The sounding cataract Skates (p.3), ‘Frozen River’ by Brian Thompson (p.12), extracts from Dorothy Haunted me like a passion: the tall rock, Wordsworth’s journal (p.2 & p.), ‘Good Friday 1’ and ‘Good Friday 2’ (p.27), The mountain, and the deep and gloomy wood, ‘Gowbarrow, Misty Morning, Daffodils’ (p.2), ‘The Ring’, ‘The Ring (1)’ and ‘The Their colours and their forms, were then to me Ring (2)’ (p.2, p.3, p.) by Mike Collier, the extract from a letter written by Dorothy An appetite; a feeling and a love. Wordsworth to Jane Marshall (p.3), ‘Wordsworth on Helvellyn’ by B.R. Haydon (p.99), ‘Tea and the Wordsworths’ by Rob Kesseler and ‘Idiot Boy’ by Heather Bowring (p.102), William Wordsworth, ‘Lines Composed a Few Miles and ‘Daffodils 1’ by Mike Collier (p.103). The timeline of The Prelude (pp.10–10) is above Tintern Abbey, on Revisiting the Banks of the Wye courtesy of Alex Butterworth and Stefanie Posavec and the quote from The Literal Body during a Tour. July 13, 1798’, ii. 77–81. by Lavina Greenlaw (p.9) is provided with permission of the poet. We are also grateful to the following individuals: Dr Steve May, Dean of the School of Humanities and Cultural Industries, Bath Spa University Professor Richard Terry, University of Northumbria at Newcastle Dr Jane Moore, Cardiff University Graeme Thompson, Dean of Faculty of Arts, Design and Media, University of Sunderland Art Editions North with Mike Collier and Peter Davies | 6 | | 7 | Contents Page 10 Foreword Nicholas Roe Page 12 Introduction Carol McKay and John Strachan, Their Colours and their Forms: Artists’ Responses to Wordsworth Page 36 The Artists Page 37 Tim Brennan Page 42 Mike Collier Page 48 David Harsent Page 54 Manny Ling Page 60 John Strachan Page 64 Robert Strachan and Sam Wiehl Page 70 Brian Thompson Page 76 Tony Williams Page 80 Contextual Biographical Essay John Strachan, Wordsworth at Goslar, Cockermouth and Hawkshead Page 100 Afterword Jeff Cowton, ‘An inspiration for us all’ Manny Ling ‘Lines Composed a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour, Page 106 Notes on Contributors July 13, 1798’ by Wordsworth 2013 Chinese Xuan paper, Sumi ink, Chinese brushes, metal leaves, Manuscript Chronicle nibs | 8 | 33.5 x 47 cms (Courtesy of the Wordsworth Trust) | 9 | Foreword No portrait this, with Academic air! This is the poet and his poetry. Portrait of William Wordsworth 1806 Elizabeth Barrett Browning, Henry Edridge (1769–1821) Pencil and Watercolour 15.5 x 12.5 cms ‘On a Portrait of Wordsworth by B. R. Haydon’ (182) Their Colours and their Forms presents a brilliantly eclectic collection of modern artistic imagination. His first published poem was a sonnet about another poet, Helen Maria responses to William and Dorothy Wordsworth and the wonderful manuscript Williams. At Dove Cottage the household gods were Chaucer, Milton, Chatterton and collections of the Wordsworth Trust at Dove Cottage. Burns. Dorothy Wordsworth’s wild eyes and attentive ears quickened much of her Unlike any other English writer except Shakespeare, Wordsworth has encouraged brother’s greatest writing — and prompts to poetry came from further afield, too, from and provoked creativity as later generations of painters and poets sought colours and friends such as Sir Humphry Davy, B. R. Haydon, Sir Walter Scott and Sir George words that might capture the elusive magic of his language. While satirists leapt to try Beaumont. The Prelude, Wordsworth’s autobiographical masterpiece, his lifelong to ridicule him, tourists were vigorously striding out in his footsteps. And as Frances endeavour, he thought of as a ‘joint labour’ with S. T. Coleridge. Blanchard’s Portraits of Wordsworth reveals, Wordsworth the man was also a subject of In exactly that communal Wordsworthian spirit, Their Colours and their Forms shows energetic artistic endeavour: portraits of him abound in oils, watercolours, sketches us Wordsworth’s poetry participating in a continuing flow of creation — stirring and statuary. and provoking fresh artistic engagements with its powerful, troubling and inspiring Their Colours and their Forms updates this vibrant tradition by gathering together achievement. As we approach the 20th anniversary of the poet’s birth, what we see creative engagements with Wordsworth now — in paintings, sculptures, performance and hear in this book is William Wordsworth’s arrival in our new century as a living, art, electronic composition, creative walking and — yes! — in poetry. Wordsworth creative force — an inspiration for us all. liked to think that, among later poets and artists, some would be his ‘second selves’. Gathered in this book are a most distinguished company of them: Tim Brennan, Mike Collier, David Harsent, Manny Ling, Carol McKay, John Strachan, Robert Strachan, Nicholas Roe Brian Thompson, Sam Wiehl and Tony Williams. (University of St Andrews, Trustee of the Wordsworth Trust) Collective and collaborative in its inspiration, Their Colours and their Forms is a project between artists who share a Wordsworthian vision. Despite perceptions of Wordsworth as a solitary figure, wandering lonely in pursuit of his ‘egotistical sublime’, to borrow John Keats’s fine phrase, community was also vital to his | 10 | | 11 | Their Colours and their Forms: childhood, he was certain, for a poet of nature in the English Lake Artists’ Responses to Wordsworth District. In a sense of loss and poetic failure, Wordsworth picked up a notebook in which he and Dorothy had captured their impressions of some of their German travels and scribbled — urgently and quickly Carol McKay and John Strachan — upon it. These lines, which mark the foundational moment of The Prelude, are part of what is now known as ‘msjj’ (see figure 3), one Flowing through Brian Thompson’s glass sculpture ‘Frozen River’ (2012; of the great manuscript treasures of the Wordsworth Trust (they are figures 1 & 2), part of the Wordsworth Trust’s permanent art collection, discussed in detail in John Strachan’s biographical essay on p.80). are the first lines of the first version of William Wordsworth’s great It was that day in chilly Goslar which began the long process of the autobiographical poem The Prelude (1799; 180; 180; 180). The words composition of Wordsworth’s posthumously-published masterpiece, the run through the glass like fish through a river: ‘Poem to Coleridge’ which the poet’s widow Mary published in 180 as The Prelude. And that moment continues to prompt artistic innovation Was it for this in the twenty-first century. It is certainly evident in Thompson’s work, That one, the fairest of all rivers, loved which, like all of the exhibits in Their Colours and their Forms, sees the To blend his murmurs with my nurse’s song, writings of Wordsworth — and also those of his great sister Dorothy Figure 1 And, from his alder shades and rocky falls, Brian Thompson — as germinal.
Load more

Recommended publications
  • Kimberley Page-Jones Writing from Hamburg: the Encounter With
    Pour citer cet article : Page-Jones, Kimberley, « Writing from Hamburg : The encounter with foreignness in the writings of Mary Wollstonecraft and S.T. Coleridge », Les Grandes figures historiques dans les lettres et les arts [en ligne], n° 10 (2021), URL : http://figures-historiques.revue.univ-lille.fr/10-2021- ISSN-2261-0871/ Kimberley Page-Jones Université de Bretagne Occidentale, HCTI (EA4249) Writing from Hamburg: The Encounter with Foreignness in the Writings of Mary Wollstonecraft and S.T. Coleridge This paper intends to examine the travel writings of a few late eighteenth-century travellers to northern Europe, with a closer look at those of Mary Wollstonecraft and S.T. Coleridge who journeyed to Germany and Scandinavia at the end of the eighteenth century (1795 and 1798) as the routes to France and Italy were made increasingly perilous. Mary Wollstonecraft’s public letters to her lover Imlay recounting her 1795 journey were well known even in her own days; less so, the narrative of Samuel Taylor Coleridge who travelled with William and Dorothy Wordsworth to Germany three years later, in September 1798. One simple reason for that: Coleridge’s travel account was not published following his journey as it would be expected from a travel writer. Coleridge recorded his travel experience in a notebook and a very large journal, extracts of which he then used in his letters to Tom Poole and Sara, his wife. His journal, unpublished and currently held in the Berg Collection at the New York Public Library, is composed of a travelogue recounting his sea journey from Yarmouth to Hamburg and ten letters to Tom Poole and Sara Coleridge, written from September 18, 1798 to May 17, 1799.
    [Show full text]
  • Abbreviations Used in the Notes
    ABBREVIATIONS USED IN THE NOTES The following list is for use in connection with the short-form citations in Notes to the Introduction (beginning at p. 148 below) and Notes to the Poems (beginning at p. 150 below). BL S. T. Coleridge, Biographia Literaria, 2 vols (London, 1817); ed. J. Shawcross, 2 vols (Oxford, 1907). EY The Letters of William and Dorothy Wordsworth: The Early Years, 1787-1805, ed. Ernest de Selincourt (Oxford, 1935); 2nd edn rev. Chester L. Shaver (Oxford, 1967). See also LY and MY, below. HD William Wordsworth, Poems in Two Volumes, ed. Helen Darbishire (Oxford, 1914; 2nd edn, 1952). Hutchinson William Wordsworth, Poems in Two Volumes, ed. Thomas Hutchinson, 2 vols (London, 1897). IF Notes dictated by Wordsworth to Isabella Fenwick. JDW Journals of Dorothy Wordsworth, ed. Mary Moorman (Oxford, 1971) - notably the Alfoxden and Grasmere Journals. LSTC Collected Letters of Samuel Taylor Coleridge, ed. E. L. Griggs, 6 vols (Oxford, 1956-71). LY I, II The Letters of William and Dorothy Wordsworth: The Later Years, 1821-1834, ed. Ernest de Selincourt (Oxford, 1938-9); 2nd edn rev. Alan G. Hill (Oxford, 1978-9). See also EY above, and MY below. MS.L. Longman MS, British Library Add. MS. 47864. [Cf. A Description of the Wordsworth and Coleridge Manuscripts in the Possession of Mr T. Norton Longman, ed. W. Hale White (London, 1897).] MYI The Letters of William and Dorothy Wordsworth: The Middle Years, Part I, 1806-1811, ed. Ernest de Selincourt (Oxford, 1936); 2nd edn rev. Mary Moorman (Oxford, 1969). MY II The Letters of William and Dorothy Wordsworth: The Middle Years, Part II, 1812-1820, ed.
    [Show full text]
  • Nervous Sympathy in the Familial Collaborations of the Wordsworth
    The Mediated Self: Nervous Sympathy in the Familial Collaborations of the Wordsworth- Lamb-Coleridge Circle, 1799-1852 Katherine Olivia Ingle MA (University of Edinburgh) MScR (University of Edinburgh) English & Creative Writing Lancaster University November 2018 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature. Katherine Olivia Ingle ii I declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification. November 2018 Katherine Olivia Ingle iii This thesis is dedicated with love to my grandmothers, Cynthia Ingle and Doreen France & in loving memory of my grandfathers, Thomas Ian Ingle, 1925-2014 & Joseph Lees France, 1929-2017 There is a comfort in the strength of love; ‘Twill make a thing endurable, which else Would overset the brain, or break the heart. Wordsworth, “Michael” Katherine Olivia Ingle iv Acknowledgements This thesis could not have taken shape without the attention, patience and encouragement of my supervisor Sally Bushell. I am deeply grateful to her for helping me to clarify ideas and for teaching me that problems are good things. I thank Sally in her numerous capacities as a Wordsworthian scholar, reader, teacher and friend. I am grateful to the Department of English & Creative Writing at Lancaster for a bursary towards an archival visit to the Jerwood Centre at The Wordsworth Trust. I thank the Curator, Jeff Cowton, for his generosity, insights and valuable suggestions.
    [Show full text]
  • Heidi J. Snow, Phd P.O. Box 193 117 Mill Street Elsah, IL 62028, USA 618.946.9624 [email protected]
    Heidi J. Snow, PhD P.O. Box 193 117 Mill Street Elsah, IL 62028, USA 618.946.9624 [email protected] The Edith and Lewis White Distinguished Professor at Principia College, appointed for excellence in teaching and dedication to the mission of the College. I have taught at the university level for 20 years and have served in administrative positions such as Chair of the Curriculum Committee, Department Chair, Acting Division Head, and Interim Dean of Academics. My research has focused on William Wordsworth and his attitudes towards religion and poverty. Recently, my research has shifted to Dorothy Wordsworth and has included work on a project with the Wordsworth Trust to help make her later journals more accessible to the wider public. Education : Southern Illinois University, Carbondale; PhD, English Literature, May 2008 Dissertation Title: The Impact of Contemporary Theological Attitudes towards Poverty on William Wordsworth’s Writing Bridgewater State College, Massachusetts (now Bridgewater State University); Master of Arts in English, May 2000 Thesis Title: The Pastoral Sublime and The Prelude Principia College: Bachelor of Arts, English, June 1979; Bachelor of Arts, Philosophy, June 1979 Teaching and Academic Administrative Experience: 2019 to present: returned to the classroom; appointed Edith and Lewis White Distinguished Professor 2018-2019: Interim Dean of Academics 2015 – present: Professor of English Literature, Principia College 2010 – 2015: Associate Professor of English Literature, Principia College 2002 – 2010: Assistant Professor of English Literature, Principia College 2000 – 2002 Instructor, Composition 101 and Composition 201, English Department, Bentley College, Waltham, MA, USA 1992 – 1996 Adult Educator, Writing and Science courses, Wellspring Adult Learning Center, Hull, MA,USA Publications: William Wordsworth and the Theology of Poverty.
    [Show full text]
  • Yew-Trees, Facsimile from Poems 1815 by William Wordsworth, Courtesy of the Wordsworth Trust
    WORDSWORTH AND THE FAMOUS LORTON YEW TREE ii Wordsworth and the famous Lorton yew tree Edited by Michael Baron Derek Denman Lorton & Derwent Fells Local History Society September 2004 iii Front and back covers: The yew tree at Lorton, photographs by David Herrod, 2004 Inside front and back covers: Yew-Trees, facsimile from Poems 1815 by William Wordsworth, courtesy of the Wordsworth Trust Re-published in this open-access e-book version in 2019, under a Creative Commons licence. This book may be downloaded and shared with others for non-commercial uses provided that the source www.derwentfells.com is credited and the work is not changed. No commercial re-use. Citation: Baron M G & Denman D, Eds, Wordsworth and the famous Lorton yew- tree, Lorton & Derwent Fells LHS, Lorton, 2004 Copyright © 2004, Lorton & Derwent Fells Local History Society All rights reserved. First published in 2004 Published and distributed by the Lorton and Derwent Fells Local History Society www.derwentfells.com Printed in Great Britain by Titus Wilson, Kendal ISBN 0-9548487-0-5 iv Contents Preface vii Dr Robert Woof Introduction 1 The Lorton yew tree in early records 3 The Wordsworths’ visit in 1804 7 The poem 11 The Lorton yew tree in guidebooks and histories from 1800 19 The life of the Lorton yew tree 41 Photographs for the bicentenary 43 David Herrod A poem for the bicentenary 49 Jacob Polley The common yew 51 John Spedding ‘A famous yew-tree’ Canon H D Rawnsley 1903 55 Contributors 65 Bibliography 66 Subscribers 69 v vi Preface Dr Robert Woof – Director, The Wordsworth Trust A landscape with a ruin, preferably a picturesque ruin, is quintessentially a Romantic image.
    [Show full text]
  • William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850)
    William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850) Judith W. Page Millsaps College BOOKS: AnEv’e1’↑따r Peter Bell, A Tale in Verse (London: Printed by dressed to a young Lady, [rom the Lakes o[ the Strahan & Spottiswoode for Longman, North o[ Englaηd (London: Printed for J. Hurst, Rees, Orme & Brown, 1819); johnson, 1793); The Waggoner, A Poem. To Which are added, Sonnets Descriptive Sketches. ln Verse. Take'ft 4t띠ng a Pedes­ (London: Printed by Strahan & Spot­ trian Tour in the ltalian, G:매:son， Swi:ss, and Sa­ tiswoode for Longman, Hurst, Rees, Orme voyard Aφ's (London: Printed for J. johnson, & Brown, 1819); 1793); M강cellaη eous Poems o[ William Word:sworth, 4 vol­ Lyrical Ballad:s, with a [ew other Poems (Bristol: umes (London: Printed for Longman, Printed by Biggs & Cottle for T. N. Long­ Hurst, Rees, Orme & Brown, 1820); man, London, 1798; London: Printed for J. The River Dμddoη， A se얘es o[ Sonnets: Vaudracmιr & A. Arch 1798; enlarged edition 2 vol­ , , q,nd Jμ lia: and Other Poems. To which 강 aη­ umes, London: Printed for T. N. Longman nexed, A Topographical Desc얘 tioη o[ the Coun­ & Rees by Biggs &. Co., Bristol, 1800; Phil­ o. tη， o[ the Lakes, in the North o[ Eη.glaηd (Lon­ adelphia: Printed & s이d by james Hum­ don: Printed for Longman, Hursì:, Rees, phreys, 1802); Orme & Brown, 1820); Poems, in two Volumes (London: Printed for Long­ ADαcπÖ:þ tioη o[ the Sceη ery o[ the Lakes in The N orth man, Hurst, Rees & Orm~ ， 1807); o[ Eη.glaηd. Third Editioη， (Now [irst publi:shed Concerning the Convention o[ Cintra (London: separately) (London: Printed for Longman, Printed for Longman, Hurst, Rees & Orme Hurst, Rees, Orme & Brown, 1822; revised 1809); and enlarged, 1823); revised and enlarged TheEχ:cursion， being a portion o[ The Recluse, a Poem again as A Gμide through the Di:strict o[ the (London: Printed for Longman, Hurst, Lakes in The N orth o[ Eηgland (Kendal: Pub­ Rees, Orme & Brown, 1814; New York: C.
    [Show full text]
  • The Road North Through by Polly Atkin
    The Road North Through by Polly Atkin Come with me. We’ll go for a walk together. Meet me in Galgate, on the bridge over the canal, and we can take that circuit, you know the one, just following the tow path towards the wide curve of the waxing Lune. We will walk a grassy path by a channel of calm water and might never think of what is buried in the silt, or concealed beneath the mirrored surface. We’ll cross locks together, stop at the Mill Inn for a drink and a bite. It will be bright day, not too hot. We’ll talk to the ducks at Glasson Dock. We’ll choose which boats we’d live on if we weren’t us. We’ll look out onto the Lune Estuary and imagine ourselves as wrecks, sinking into the mud or rising out of it. The horizon will be hazy. Blue leaching into brown. It doesn’t matter that we’re walking in our heads, not on the ground. It doesn’t matter that we’re not physically present in the same space. You can’t touch me on the arm to draw my attention to a bird singing, high in a tree above us as we pass underneath it, or an old sign painted on the side of a building. We’re still together, but differently. Still there, but differently. We can walk as far as we like and not get tired. We don’t need to worry about the light fading, or our feet aching.
    [Show full text]
  • Wordsworth and Later Eighteenth-Century Concepts of The
    1 1 1 1 Wordsworth and later eighteenth-century concepts of the reading experience 1 1 by 1 Gordon Tweedle © A thesls submltted to the Faculty of Graduate Studles and Research ln partial fulfllment of the 1 requlrements for the degree of PhD. 1 1 J Gordon TweedÏf~ Dept. of English 1 McGl1i University Montreal. P. a. March.1991 1 J 1 1 J 1 1 1 1 Abstract 1 Wordsworth and later eighteenth-century concepts of the reading experience 1 Gordon Tweedie PhD., Department of Enghsh McGiII University 1 March, 1991 1 Inlluentiallater eighteenth-century cr:lics and philosophers (Stewart, Knight, Alison, Jeffrey, 1 Godwin) argued that poetry's moral and practical beneflts derive from "ana1ytical" modes of reading, rather than trom the poet's instructive intentions. Frequently explolting the phllosophleal "language 1 of neeesslty," Wordsworth's essays and prefaces (1798-1815) protested that poetry dlrectly improves t,le reade(s mOial code and etl1ical conduct. This dissertation discusses Wordsworth's cntlclsm ln the 1 context of analytical pnnclples of interpretation current in the 1790s, providing terlT's for exploring the - ln 1 theme of readrng early mss of Peter Bell and The Bujned Cottage (1798-1799), the 1798 ~ Ballads, and later poe ms such as "A narrow girdle of rough stones and crags," "Resolution and 1 Independence," "Eleglac Stanzas," and The Prelude (Book V). 1 These poems anticipate Wordsworth's presentation of reading as the "art of admiration" in the "Essay, Supplementary" to the 1815~, and indicate a sustained search for alternatives and 1 correctives to detached investigative approaehes to the aesthetie experienee.
    [Show full text]
  • Open to Discover 'An Educational Experience Like
    Open to discover ‘an educational experience like no other’ We invite you to a life-changing experience like no other in ‘the loveliest spot that man hath ever found’. Nestled in the heart of the beautiful English work directly with our original manuscripts, Lake District sits Dove Cottage, the former enjoy guided walks in the beautiful landscape home of poet William Wordsworth. It was that inspired Wordsworth’s greatest poetry, and whilst living here from 1799 to 1808 that spend the evening in Dove Cottage, reading Wordsworth composed the most important poetry by candlelight and conversing around and best-loved of his poems, and his sister the fire. They will even have the chance to Dorothy wrote her now famous Grasmere make their own notebooks from start to finish Journal. Today, the Wordsworth Trust cares for and write in them with a quill and oak gall ink, Dove Cottage and the historic hamlet of Town just as the Wordsworths did. Our courses are End, as well as an internationally important designed specifically for university students, collection of over 68,000 manuscripts, books, and are carefully tailored and personalised to personal belongings and artworks relating to each group. Above all, they are stimulating and the Romantic era, with the Wordsworth family great fun! manuscripts at its heart. Working with our collection will be at the “I’ve gained a new invigorated heart of their experience. Students will have passion for my studies – a privileged access to our pre-eminent collection of manuscripts, rare books and fine art. With new appreciation for archives, the guidance of our specialist curators, they preservation, creation and will learn to handle these objects, gaining a curation.” new appreciation for the value of manuscripts and what can be learnt from them.
    [Show full text]
  • Fay, J. (2018). Rhythm and Repetition at Dove Cottage. Philological Quarterly, 97(1), 73-95
    Fay, J. (2018). Rhythm and repetition at Dove Cottage. Philological Quarterly, 97(1), 73-95. https://english.uiowa.edu/philological- quarterly/abstracts-971 Peer reviewed version Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ RHYTHM AND REPETITION AT DOVE COTTAGE JESSICA FAY Abstract It is well known that William and Dorothy Wordsworth habitually hummed and murmured lines of poetry to themselves and to each other both indoors and while they paced backwards and forwards outside. While this was a lifelong habit for the poet, there are two specific periods at Dove Cottage—the spring and early summer of 1802 and the months following John Wordsworth’s death in 1805—during which the repetition of verses alongside various types of iterative physical activity may be interpreted as an “extra-liturgical” practice performed to induce and support meditation and consolation. In shaping their own “familiar rhythm[s]”, the Wordsworths are aligned with Jeremy Taylor, whose mid-seventeenth- century writings promoted the cultivation of private, individual repetition and ritual. Although William and Dorothy act independently of corporate worship in 1802 and 1805, their habits—in sympathy with Taylor’s teaching—reveal a craving for the kinds of structures William later celebrated in Ecclesiastical Sonnets. Consequently, the apparent disparity between the high-Romantic poet of Dove Cottage and the high-Anglican Tractarian sympathizer of Rydal Mount is shown to be less severe than is often assumed.
    [Show full text]
  • Thesis Spring 2015 !2
    ! ! ! ! ! ! ! ! ! ! Alice in Wonderland: Dorothy Wordsworth’s Search for Poetic! Identity in Wordsworthian Nature ! ! ! ! ! ! ! ! ! ! ! ! ! ! Maymay Liu Advised by Susan Meyer and Dan Chiasson, Department of English Wellesley College English Honors Thesis Spring 2015 !2 Table of Contents Acknowledgements 3 Introduction 4 Chapter 1: Daydream in Gold 14 William and Dorothy Wordsworth as Divergent Speakers Chapter 2: Caged Birds 35 William Wordsworth’s Poetic Treatment of Women in Nature Chapter 3: Through the Looking Glass 57 Dorothy Wordsworth’s Conception of Passivity toward Mother Nature Works Cited 82 !3 Acknowledgements! I am deeply grateful to Professor Susan Meyer and Professor Dan Chiasson for acting as my thesis advisors, both of whom were gracious enough to take on my project without being familiar with Dorothy Wordsworth beforehand. I would never have produced more than a page of inspired writing about Dorothy without their guidance and support. I thank Professor Alison Hickey, who first introduced me to Dorothy and William as a junior (I took her class “Romantic Poetry” in the fall, and promptly came back for more with “Sister and Brother Romantics” in the spring). Despite being on sabbatical for the academic year, she has provided encouragement, advice and copious amounts of hot tea when the going got tough. I would like to thank the members of my thesis committee, Professor Yoon Sun Lee, Professor Gurminder Bhogal, Professor Octavio Gonzalez, Professor Joseph Joyce, and Professor Margery Sabin for their time and fresh insights. I thank the Wellesley College Committee on Curriculum and Academic Policy for awarding me a Jerome A. Schiff Fellowship in support of my thesis.
    [Show full text]
  • English Language and Literature in Borrowdale
    English Language and Literature Derwentwater Independent Hostel is located in the Borrowdale Valley, 3 miles south of Keswick. The hostel occupies Barrow House, a Georgian mansion that was built for Joseph Pocklington in 1787. There are interesting references to Pocklington, Barrow House, and Borrowdale by Wordsworth, Coleridge, and Southey. Borrowdale and Keswick have been home to Coleridge, Southey and Walpole. Writer Born Selected work Places to visit John Dalton 1709 Poetry Whitehaven, Borrowdale William Wordsworth 1770 Poetry: The Prelude Cockermouth (National Trust), Dove Cottage (Wordsworth Trust) in Grasmere, Rydal Mount, Allan Bank (National Trust) in Grasmere Dorothy Wordsworth 1771 Letters and diaries Cockermouth (National Trust), Dove Cottage (Wordsworth Trust), Rydal Mount, Grasmere Samuel Taylor Coleridge 1772 Poetry Dove Cottage, Greta Hall (Keswick), Allan Bank Robert Southey 1774 Poetry: The Cataract of Lodore Falls and the Bowder Stone (Borrowdale), Dove Lodore Cottage, Greta Hall, grave at Crosthwaite Church Thomas de Quincey 1785 Essays Dove Cottage John Ruskin 1819 Essays, poetry Brantwood (Coniston) Beatrix Potter 1866 The Tale of Squirrel Lingholm (Derwent Water), St Herbert’s Island (Owl Island Nutkin (based on in the Tale of Squirrel Nutkin), Hawkshead, Hill Top Derwent Water) (National Trust), Armitt Library in Ambleside Hugh Walpole 1884 The Herries Chronicle Watendlath (home of fictional character Judith Paris), (set in Borrowdale) Brackenburn House on road beneath Cat Bells (private house with memorial plaque on wall), grave in St John’s Church in Keswick Arthur Ransome 1884 Swallows and Amazons Coniston and Windermere Norman Nicholson 1914 Poetry Millom, west Cumbria Hunter Davies 1936 Journalist, broadcaster, biographer of Wordsworth Margaret Forster 1938 Novelist Carlisle (Forster’s birthplace) Melvyn Bragg 1939 Grace & Mary (novel), Words by the Water Festival (March) Maid of Buttermere (play) Resources and places to visit 1.
    [Show full text]